Thomas Beckwith
is a staff writer for The Millions and an MFA candidate at Johns Hopkins. Prior to coming to Baltimore, he studied literature and worked in IT while living in Dublin, Ireland. You can find him on Twitter at @tdbeckwith.

"If you would write, try to be terse and in some measure original—the world abounds with new similes and metaphors... If you cannot tell people of something they have not seen, or have not thought, it is hardly worthwhile to write at all." The Paris Review shares writing advice from a 21-year-old D.H. Lawrence .

Graying Beats, Allen Ginsberg and William S. Burroughs, discuss the cut-up technique and shamanism during a never before published 1992 interview in the latest issue of Sensitive Skin Magazine. David L. Ulinprovides commentary on the conversation.

The New York Times MagazineprofilesEmily Wilson, the first woman to translate the Odysseyinto English. Her translation is one of our most eagerly anticipated for November. "One way of talking about Wilson’s translation of the “Odyssey” is to say that it makes a sustained campaign against that species of scholarly shortsightedness: finding equivalents in English that allow the terms she is choosing to do the same work as the original words, even if the English words are not, according to a Greek lexicon, 'correct.'"

With the erosion of the 175-year-old Times-Picayune, New Orleans will soon be one of the largest metro areas without its own major newspaper publishing every day. Over at The Atlantic, Emily Badger explains the sad saga of its demise as well as the complexities and uncertainties yet to come.

A surreal theater production of Haruki Murakami’s Kafka on the Shore, directed by Yukio Ninagawa, premiered at the Lincoln Center Festival in July. Ian Burumawrites for the NYRB about the marriage of tradition and modernity, and Western and Eastern references in the play. As he puts it, "even without traditional references, the production—perhaps more than Murakami’s novel—is still unmistakably Japanese: stylized, poetic, comical, violent, full of spectacular effects, and often exquisitely beautiful to look at. The setting jumps at lightning speed from a bus station, to a library, to a sleazy bar area. Various characters emerge and disappear, like memories or scenes from a dream, in an assortment of moving transparent boxes."